History teaches us that this ascetical morality that would scorn the whole of nature had, as a natural consequence, the very opposite effect to that it intended. Monasteries, the homes of chastity and discipline, soon became dens of the wildest orgies; the sexual commerce of monks and nuns has inspired shoals of novels, as it is so faithfully depicted in the literature of the Renaissance. The cult of the "beautiful," which was then practised, was in flagrant contradiction with the vaunted "abandonment of the world"; and the same must be said of the pomp and luxury which soon developed in the immoral private lives of the higher ecclesiastics and in the artistic decoration of Christian churches and monasteries. It may be objected that our view is refuted by the splendor of Christian art, which, especially in the best days of the Middle Ages, created works of undying beauty. The graceful Gothic cathedrals and Byzantine basilicas, the hundreds of magnificent chapels, the thousands of marble statues of saints and martyrs, the millions of fine pictures of saints, of profoundly conceived representations of Christ and the madonna--all are proofs of the development of a noble art in the Middle Ages, which is unique of its kind. All these splendid monuments of mediæval art are untouched in their high æsthetic value, whatever we say of their mixture of truth and fancy. Yes; but what has all that to do with the pure teaching of Christianity--with that religion of sacrifice that turned scornfully away from all earthly parade and glamour, from all material beauty and art; that made light of the life of the family and the love of woman; that urged an exclusive concern as to the immaterial goods of eternal life? The idea of a Christian art is a contradiction in terms--a _contradictio in adjecto_. The wealthy princes of the Church who fostered it were candidly aiming at very different ideals, and they completely attained them. In directing the whole interest and activity of the human mind in the Middle Ages to the Christian Church and its distinctive art they were diverting it _from nature_ and from the knowledge of the treasures that were hidden in it, and would have conducted to independent science. Moreover, the daily sight of the huge images of the saints and of the scenes of "sacred history" continually reminded the faithful of the vast collection of myths that the Church had made. The legends themselves were taught and believed to be true narratives, and the stories of miracles to be records of actual events. It cannot be doubted that in this respect Christian art has exercised an immense influence on general culture, and especially in the strengthening of Christian belief--an influence which still endures throughout the entire civilized world.